About

Soprano, Adelaide Boedecker, has been described as “emotionally transparent and beguiling of tone” (The San Francisco Chronicle). During the 2021-2022 season Ms. Boedecker returned to Pittsburgh Opera to perform Pamina in The Magic Flute, joined the Metropolitan Opera roster, covering Thibault in Don Carlos and Tebaldo in Don Carlo, sang as a featured soloist with the Choral Artists of Sarasota, and upcoming, and made her Florida Grand Opera debut as Mary Johnson in Fellow Travelers. In the spring of 2021, she covered the role of Frasquita in Carmen with Atlanta Opera and performed the role of Norina in Don Pasquale with Opera Las Vegas.

During the 2019-2020 season, Ms. Boedecker joined the Steamboat Symphony Orchestra as the soprano soloist in Mozart’s Mass in C minor, the Wichita Symphony Orchestra and Capriccio Columbus as the soprano soloist in Carmina Burana, the Naples Philharmonic as the soprano soloist in Handel’s Messiah, and the Lensic Performing Arts Center in Santa Fe for their New Year’s Eve Gala, where she performed Mozart’s Exsultate, Jubilate. During the spring of 2020, Ms. Boedecker returned to Sarasota Opera where she performed the role of Adina in L’elisir d’amore, and was scheduled to return to Opera Las Vegas to reprise the role of Pamina in Die Zauberflöte (canceled due to COVID-19).

In 2018 she performed the role of Clorinda in La Cenerentola with Opera Las Vegas, and made her role debut as Susanna in Le nozze di Figaro with James Conlon and James Darrah, at Music Academy of the West. In the spring of 2019, Ms. Boedecker made her role debut as Pamina in Die Zauberflöte and covered the title role in Donizetti’s Rita with Sarasota Opera, she made her Opera Columbus debut in their Opera Swings Jazz concerts and returned to Santa Fe Opera to sing Meredian in Joe Illick and Andrea Walter’s UnShakeable.

Past performance credits include Micaëla in The Tragedy of Carmen with Opera Birmingham, Yum-Yum in The Mikado with Performance Santa Fe, and Clorinda in La Cenerentola with both Syracuse Opera and El Paso Opera.

As a former resident artist with Pittsburgh Opera, Ms. Boedecker performed Alice B. Toklas in 27, Marie in Daughter of the Regiment, Frasquita in Carmen, Anna in Nabucco, Beth in Little Women, Mabrouka in Sumeida’s Song, and covered Despina in Così fan tutte.

Ms. Boedecker spent two summers as an apprentice artist with the Santa Fe Opera and two summers with the Merola Opera Program. With Merola, role highlights include Stella in A Streetcar Named Desire and Despina in Così fan tutte. Santa Fe Opera performances include Ida in Die Fledermaus, Tessa in Trinity, Sarah in Avastar, and Chorus Soloist in the Grammy Winning (R)evolution of Steve Jobs. Additionally with Santa Fe, she covered the roles of Marie in La fille du régiment, Serpetta in La finta giardiniera, Lila/Laura in Cold Mountain, and Chrisann in (R)evolution of Steve Jobs.

Competition highlights include winning the Santa Fe Opera Anna Case MacKay Award, winning the National Opera Association competition, scholarship division, and winning second place in the American Prize competition for professional singers.

Ms. Boedecker made her professional debut at age 17, as Barbarina, with the Sarasota Opera. She received her Bachelor of Music Degree in Vocal Performance from University of Florida, where she graduated summa cum laude, and received her Master of Music in Vocal Performance from the Eastman School of Music.

Reviews

Reviews of Adelaide in Sarasota Opera’s l’elisir d’amore

“As Adina, Boedecker not only has the fine coloratura necessary for Donizetti but turns in a nice comedic performance that connects with the audience. It is a fun romp, presenting a flawed character who could be easy to dislike in lesser hands.” - T. Michele Walker, Sarasota Herald Tribune, March, 2020

“Florida lyric soprano Adelaide Boedecker was a sympathetic Adina, with an appealing lyric coloratura and affecting acting.” - William Burnett, Opera Warhorses, March, 2020

reviews of adelaide in Sarasota Opera’s Die ZauberflÖte

“Friday night’s performance of “The Magic Flute” featured Sarasota native and Youth Opera alumna Adelaide Boedecker as Pamina in her debut in a major role with the company. She seemed completely at ease with the role both musically and dramatically, and her aria “Ach, ich fühl’s,” was particularly lovely.” - Edward Alley, Observer, March 2019

Reviews of Adelaide in m.a.w.’s Le nozze di figaro

“As Susanna, soprano Adelaide Boedecker delivered a thoroughly convincing performance in support of her vocal pyrotechnics” -Michelle Drown, The Santa Barbara Independent, August, 2018

Reviews of Adelaide in Santa Fe Opera’s Die Fledermaus:

“Adelaide Boedecker (soprano, as Adele’s sister, Ida) attested to the promise that lies within the current crop of apprentice singers…” – James M. Keller, The Santa Fe New Mexican, July, 2017

“Apprentices Adelaide Boedecker and Stephen Carroll made their characters, Ida and Dr. Blind, come to life.” – Maria Nockin, August, 2017

“Florida soprano Adelaide Boedecker, a 2017 Santa Fe Opera apprentice artist, was a sprightly Ida.” – William Burnett, Opera Warhorses,  July, 2017

“Adelaide Boedecker was the spunky, chirpy Ida.” – James Sohre, Opera Today, August, 2017

Reviews of Adelaide in Merola Opera's Cosi fan tutte:

"Only soprano Adelaide Boedecker’s Despina, whose urgent vocal performance was matched with a delightfully tough, sharp-edged portrayal, proved consistently interesting to watch.”
-Georgia Rowe, Opera News, August, 2016

Reviews of Adelaide in Merola Opera's A Streetcar Named Desire:

"Soprano Adelaide Boedecker was a vivid Stella- emotionally transparent and beguiling of tone."
- Joshua Kosman, The San Francisco Chronicle, July, 2014

"Stella Kowalski gets some of the opera's best music, and Adelaide Boedecker's generous soprano made it soar."
- Georgia Rowe, Opera News, July, 2014

"Adelaide Boedecker is a reason to see the production.  Her layered voice gets at the essence of Stella.  Her singing is clear, direct and invigorating..." 
- Richard Scheinin, The San Jose Mercury News, July, 2014

“...There are a small handful of fine stand-alone arias studded throughout the score - especially Stella's brief but exquisite Act 1 aria about the erotic hold Stanley has on her, which to my mind remains the most perfect stretch of the piece - Soprano Adelaide Boedecker was a vivid Stella - emotionally transparent and beguiling of tone.”  - Joshua Kosman, music critic, The San Francisco Chronicle, July, 2014

“...As Stella, Adelaide Boedecker’s performance was the easiest to follow - and to fall for. Her soprano was consistent, she used it confidently, and coupled with her solid acting chops, she made an excellent impression. It would take a miracle to steal this show from Adams (Blanche) - who is rarely offstage - but Boedecker gave her a good run as the more nuanced and conflicted sister. She was heartbreaking in the final scene, a convincing mix of self-loathing and self-preservation.” -  John Marcher, San Francisco's Performing Arts, Culture Calendar and Reviews, July, 2014

“...Soprano Adelaide Boedecker sounded supple and bright as Stella.  Her sultry post-coital vocalise, accompanied by the plucking of a double-bass, was my favorite part of the opera.”           - Axel Feldheim, San Francisco's "Not For Fun Only", July, 2014

“...Adelaide Boedecker is a reason to see the production. Her layered voice gets at the essence of Stella. Her singing is clear, direct and invigorating -- beautiful, without asking for attention. That's Stella, who has left behind her upscale youth to marry Kowalski (baritone Thomas Gunther), an auto parts supply man. They struggle financially. They have good sex. You know the story.”  -  Richard Scheinin, music critic, The San Jose Mercury News, July, 2014

“...Adelaide Boedecker's Stella and Thomas Gunther's Stanley Kowalski made a convincing couple, and each shone in their separate interactions with Blanche. While Gunther's acting task is straightforward, Boedecker was weighed and found not wanting in both the abused-but-unshakable relationship with Stanley, and the differently abused, but always loving loyalty to sister Blanche.”   - The San Francisco Classical Voice, July, 2014

Reviews of Adelaide in Pittsburgh Opera's 27:

"Soprano Adelaide Boedecker set the tone for the excellence of Pittsburgh Opera's cast.  Throughout the opera, Boedecker negotiated her part's high tessitura with flair and ample power, and offered more dulcet tones for her character's mainly gentle interpersonal manner." 
- Mark Kanny, Pittsburgh Tribune Review  February, 2016

Reviews of Adelaide in Pittsburgh Opera's Little Women:

"Beth... offers one of the opera's key moments of insight, telling Jo to accept her young sister's inevitable death.  Playing Beth, Adelaide Boedecker captured this shift with a warm bold vibrato that deepened the otherwise simple character."
- Liz Bloom, Pittsburgh Post Gazette January, 2016

"Soprano Adelaide Boedecker's big moment was Beth's death scene... Her line was finely drawn, and her acting conveyed Beth's generosity and weariness."
- Mark Kanny, Pittsburgh Tribune Review, January, 2016